The film is set in the town of Lowell, Massachusetts and centers around two keystone characters: local legend Dicky “The Pride of Lowell” Eklund (Bale) and up-and-comer in the junior welterweight division “Irish” Micky Ward (Wahlberg). As it opens, they are being filmed by a documentary team from HBO who are interested in Eklund’s battle with crack cocaine addiction (although Dicky himself says the movie is about his “comeback”). It just so happens to be that at the time of filming, little brother Ward is training for a fight that could very well put him in the hunt for a world title. Preparing for fights is an all out family affair with Eklund as his primary trainer, “ma” Alice Ward (Mellisa Leo) pulling manager duties, and the countless amount of sisters as his “biggest fans.” Even father George Ward (Jack McGee) and Lowell Police sergeant Mickey O’Keefe (who is played by the real O’Keefe) lend unwavering support and a helping hand when needed. While preparing for his fight, a tough but attractive bartender at a family favorite pub Charlene Fleming (Amy Adams) catches Ward’s eye and soon becomes another person in his “corner.” But her influence starts to make Ward realize the imbalance that his family is having upon his everyday. Dicky is highly unaccountable because of his drug use, and Alice is quite controlling, to the point of being narcissistic at certain times. This doesn’t set the “mood” well as the family travels to Atlantic City for Micky’s next fight. While going over film the night before, Ward and Eklund learn that the scheduled opponent has fallen ill and that a much heavier brawler in Mike Melungin has picked up the vacancy. This doesn’t set well with Ward, but he is assured by his entourage that while he may be bigger, the guy hasn’t done much training of late, and if he doesn’t fight then he won’t receive the purse for the event. After “getting taken to the cleaners” but staying tough to the card against the heavier Melungin, Ward is approached by a promoter in Vegas that talks to him about ditching the family establishment that has booked him in this horrible situation, and train year around to become the best in the world. What follows is a true account of the journey of Ward and the struggle to make decisions that not only impact his life, but all of those around him.
This film is driven less by narrative and more on the characters. It is very important to realize that the production team on this made sure they were telling an important story that was real. So to break down the narrative, not a whole lot happens. The story is one that is worthwhile, but spans a relatively short amount of time. To this limitation, the movie is pulled up by superb acting. Christian Bale is strong in this film and is supported with a nice amount of screen time. He is featured in the film quite a bit, but not in an overwhelming sense. The time he has is used wonderfully and the dynamic shift of the character is done well with a smart reading/performing of the script and an existence in the frame that demands attention, but does not exceed the label of “supporting actor.” The same praise, and then some, can be said about Mellisa Leo. Going into the viewing, I had heard much about Bale’s work (of course) but Leo is just as deserving of her Oscar as the aforementioned is of his. The battle for control with a sort of desperation becomes a constant as her character’s role of manager get increasingly limited. And when the two of them are featured in a scene together, this film ascends as the strongest collection of performances in a film I have seen from last year. Among the award winning prowess of Bale and Leo, Wahlberg has wonderful screen presence and asserts himself as the protagonist opposite the pseudo-antagonist family members. And Adams rounds out the trope with a sort of warm hope among the perils that mean to entrap Ward and his family.
The story and the characters shine and are the best parts, but the film as a whole can be rather dry, even boring at times. I understand this isn’t Rocky and nor should it be, but a movie with this theme is usually a little more consistent when it comes to being entertaining. Although I am extremely happy that a large number of “liberties” were not taken and the writing doesn’t embellish for the sake of “canned heat.” But the story on display inherently makes for periods of stale screen time. Such as with the fight sequences. They are coordinated well and display the presentation of real boxing matches (no dramatization). There are also not an overwhelming amount of fights in the film either, although the last bout, the portrayal of Ward’s title fight with Shea Neary, is especially good and “gets the blood pumping.” One more effect that the movie does quite well is the occasional implementation of a film device called a “voice off.” Not to be confused with a voice over, this is a moment in which the dialogue heard does not follow what characters are featured in the mise-en-scene. There are only a few of these moments, but they mean so much to establish characters and the tone of the film that they are very important.
The Special Features (featured on the Blu-Ray disk) in this film are quite good, although they are not as numerous as I would have liked.
-“The Warrior’s Code: Filming The Fighter“: A behind the scenes featurette about the making of the film that talks about telling the story of the Ward family and how carefully constructed the film is to create an exciting boxing experience along with the narrative focus on the people in the setting with comments from director David O. Russell, Mark Wahlberg, producer Todd Lieberman, and others.
-“Keeping the Faith”: Short doc piece that talks to members of the family, extended family, and all who were attached to the rise of Ward in real life and how boxing is simply “in the blood.”
There is also commentary with director Russell, deleted scenes, and a theatrical trailer.